18 tgmlink.com | December 2008

REV

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Nothing But A Man is the blues personified. The downbeat of civil-rights

Alabama reverberates throughout this film. The main character, Duff

Anderson (Ivan Dixon), is not another spoke in the industrial wheel of the

South. His head strong attitude is deemed countercultural in a society of

black men named “boy.”

His no nonsense manner comes across as caustic to his white superiors

and beleaguered co-workers alike. Josie Dawson (Abbey Lincoln) is an

outsider as well. Her college education makes her the only qualified teacher

in town and as the daughter of a local reverend her every move is under

scrutiny. She searches for freedom and finds it in Duff. Released in 1964,

Nothing But A Man received mixed reviews for its blaring racial overtones

and failed to gain praise from mainstream audiences. The subject matter

was unheard of at the time. Its social commentary is timeless and raises

challenging questions of contemporary audiences.

The issue of race relations is at the forefront of this film, but it is not the

sole topic discussed. Duff’s role as a father is ambiguous. Duff’s job as a

railroad construction hand causes him to retreat from the issue of raising

his illegitimate son. His nomadic tendencies are learned from the archetype

which his father Will Anderson (Julius Harris) still harbors it in his old

age. This aspect of Duff’s character represents the ailing family structure

in the African-American community. It is an institutional dilemma that

is tastefully presented by director William Roemer and writer Robert M.

Young. The strength of the script is exemplified by the chemistry between

Ivan Dixon and Abbey Lincoln.

Ivan Dixon reveals Duff’s hardened inner core by manipulating the silence

between verbal exchanges. His cutting glances are stifled wails for respect.

Dixon also does an excellent job of showing Duff’s schoolboy ways. He

smiles during most of his scenes with Abbey Lincoln while rarely looking

his father in the eye when they meet. Duff’s complexities vary from scene to

scene, but are noticeable during the entire film.

Jazz vocalist Abbey Lincoln makes her acting debut in this film. Her

fallibility as a new actress is apparent, but it actually allows her to bring

Josie’s mousy characteristics to life. Lincoln’s childish grin is omnipresent.

She uses it to show the contrast between the world Josie experienced prior

to Duff’s arrival and the possibilities he represents. Lincoln shines as she

methodically displays Josie’s emotions in pivotal scenes with Duff.

Nothing But A Man’s cinematography may be primitive, but it adds to the

overall aesthetic of the film. Shot in black and white, each frame offers a

rugged landscape and adds to the theme. The shots are intimate and create

beautiful moments for each character. William Roemer’s attention to detail is

masterful and creates harmony between film and script. Motown’s best voices

are the backbone for the film’s score. Smokey Robinson & the Miracles,

Martha & the Vandellas, Mary Wells and Stevie Wonder—the soundscape

is legendary.

Nothing But A Man is a landmark piece of filmmaking. Nearly 45 years

since its release, there are few films that coherently address these social

conundrums. The generational appeal of abrasive subject matter and how

it created a platform for these topics to be discussed. This film is a must

have for any connoisseur who still sees these issues as prevalent in today’s

society. Nothing But A Man shows that the names and faces have changed,

but the obstacles remain the same.

Timeless in Black & WhiteNothing But A Man still reigns true.

Nothing But A Man, New Video

Flex Your SensesBeyond the Links

016_REVIEWS.indd 18 11/19/08 4:50:50 PM